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At the beginning of this chapter, you saw that a light coming directly from the same vantage point as your eyes just doesn't really look natural. So next we put an external flash on it, and got that light raised up a little bit. And that made a difference, it gave us a better picture. But if we can get the flash completely off the camera, that gives us a tremendous amount of creative freedom, both to create very stylized looks, but also to create very natural looking light. So, what would happen if instead of the flash being right here, it was, it was more up here? Maybe I could get even more shadowing on Ashley's face, get more modelling, get more depth.
As you may have already guessed, there is a way of doing this. And, in fact, maybe you've already got one of these. This is, well Canon calls this an off camera shoe cord. You might also see this as a remote flash cable, something like that. This is the one made specifically by Canon for my flash system. What's kind of telling about it is being a dedicated or a cord dedicated to a particular system is it's got all these pins in it. If I look at the hot shoe on my camera, I see there are these collection of little contacts here, one for each pin on my cable.
Those contacts are used to transmit full TTL information to my flash, so that even when its off the camera, I still get all the same automatic metering that I get when it's on the camera. Now there are third-party flash sync cords that are going to be cheaper than the Canon one. They may not all have those full contacts. Some of them may only have a single contact that fires the flash. That means I lose all my TTL stuff and have to go into working in a manual mode. There is nothing wrong with that if you like working in manual mode and you can get a cable for much less money that way. But when you're starting out, having TTL is really useful, so you may want to buy a cord that does provides enough contacts to give you full TTL.
And the description of the product will, will definitly say that. So all I'm doing is screwing the appropriate end into the appropriate piece of gear here. There is a hot shoe here that attaches to my flash and then, there's a thing that goes in the hot shoe of my camera. Once it's there, I can no longer use the pop-up flash and I've got about this much room. But now my flash is off the camera. I can start moving it around and really get to town with trying to find a better position for my light. So lets start with what I just described, a more extreme version of what we were doing before. Obviously, it takes two hands to do this, so if I am driving the camera with my right hand, which is how actually how that's everyone going to do it because that's where the shutter button is.
What am I talking about? It's not like there is a left handed camera. I am bad with scissors also. anyway, I am using my right hand for the camera, so I'm going to hold the flash up here. I've got it turned on. Now one of the first things you have to do when you're first starting to use off camera flash, is remember to pay attention to where the flash is pointing, 'because it's real easy to do this, and now I'm lighting up some wall over there. So I'm actually going to with my, with my off eye here try to pay attention to where it's pointing. I want to go directly above my camera, pointing it down at Ashley.
I'm still in Program mode, and because I've got TTL on my flash cable, I'm getting full metering and everything, and that is looking very nice compared to when it was on the camera. I've now got it up a little bit higher. It's a, I, I would like it to be a tiny bit brighter. I still have the same flash exposure compensation that I had dialed in before. And now the flash is a little bit farther from her, and I may not be pointing it directly at her. I think I'm also standing back a little ways. yeah, this is looking good. Again I'm getting more contour off of her face.
Her cheekbones are just starting to cast a little bit of shadow. I do have that hard shadow under her chin, which I'm not crazy about. It's really that hard shadow is a, is a distraction. It creates this black line under her face. It's, it's kind of harsh compared to the pretty soft features of the rest of the lines in her face. Still though, I'm, I'm, liking this light a lot better than the pop-up flash that I had earlier. So now let's start playing around. Look what happens if I pull the flash over here. Aha, now I am getting some real depth and change.
So, you can see I'm, I'm creating one just very different looks and much more dramatic light by using the flash to intentionally, trying not to strangle myself here, to intentionally cast shadows on her face. Ashley's doing a very nice job of just moving around for me even though I'm not directing her. Uum, as I'm moving it around, I start need to pay attention to flash exposure. A camera's doing what it can to, because it's in TTL mode, it's still sending out its pre-flashes, it's still trying to measure the right amount of light, and it's still coming out just a little bit hot, I'm going to turn it down a third of a stop and see what I get.
So it's really nice just playing with these shadows and seeing what I can come up with. But notice on these how the shape of her face becomes more pronounced as I have say a very extreme shadow on one side of her face. Things become much more interesting looking. I get a better sense of the scale of, of the bone structure of her face. I can see her nose a little bit better. That said, I'm still getting that harsh shadow under her chin.
I've still got a pretty bright light on her forehead. If I turn down my flash exposure compensation any more, it's possible the image is going to be too dark. I'm still not quite there because though I've got a good position on the flash, the quality of the light is pretty harsh. It's a very very bright light shining on her, so we're going to try a couple of different things to soften that light and change the overall quality of what's coming out of my flash.
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